For a relatively small amount of money you’ll learn how a more marketplace-attuned person will view their script without risking a pass from a company you may be interested in.ģ. And then pay that person to do private coverage for you. Just ask a contact at a company who their best reader is and if that person would be willing to take on a freelance assignment. All studios and most production companies hire readers to do coverage - a synopsis, comments, and grid rankings of its various elements (concept, characters, etc.). (I actually hate going to readings, but admit that they can sometimes be helpful.) And, if you’re hoping for industry finance, get it covered. Consider putting together a reading and then soliciting feedback after - both in a Q&A session and through follow-up emails. Ask them specific questions about what works for them and what doesn’t. Patiently follow up, and after they do read it, encourage them to give you honest advice. It can take people a while to read things.
Get it out for feedback from people you trust. Do it yourself, and then have an eagle-eyed friend do it again. (If you’re a GTD junkie, consider these all possible “next steps.”) Keep in mind that this list, which is by no means inclusive, was written with a first-time writer/director in mind, someone who may necessarily be working outside the system to get his or her film made. For those who want to be more proactive, here are 15 things that can be done starting now.
#TV SCRIPT TREATMENT EXAMPLE MOVIE#
There are easier-said-than-done answers: “Find a producer! Get an agent!” But just sending out a bunch of PDFs, sitting back and hoping someone else will make your movie (or tell you why they won’t) is only one approach. He asked, “What do I do now?”Ī tough question, not knowing the filmmaker very well and not having read the script. The resulting project, I take it, is too big for his usual DIY methods. After going to film school, making some shorts and working conspicuously within his means, he’s now written a script purely from the imagination - not censoring himself by thinking of things like money and production requirements. Directing, IFP Emerging Narrative, Marc Maurino, Miranda July, Nicholls Fellowship, Producing, Screenwriting, Sundance LabĪ Filmmaker reader recently emailed me with a simple question.